2025 Board and Council Election Results

The AMS is pleased to announce the results of the 2025 Board and Council election. The following individuals have been elected to the indicated Society offices. The candidates-elect will formally begin service in November 2025. Congratulations to the newly-elected and thank you to all those who stood for election!

Lidia Chang is Assistant Professor at Colorado College. She received her Ph.D. from CUNY in 2021 (“‘Leisure with Decorum’: Gentlemen Making Music in the Georgian Era”). She has published articles in Musique-Images-Instruments. Twelve Cotillions by Giovanni Gallini, 1770 (Regencydance.org, 2015), and Country Dances by Thomas Skillern, 1781 (Regencydance.org, 2015). She has done public musicology work with the Jane Austen Society of North America and The Thing About Auten (podcast). Her research interests include music and gender, organology, British music, print culture. She is the co-founder and co-chair of the AMS Organology Study Group.

Stephanie Doktor is Assistant Professor at Temple University. She received her Ph.D. from University of Virginia in 2016 (“‘The Jazz Problem’: How U.S. Composers Grapple With the Sounds of Blackness, 1917−1925”). She is the author of Reconstructing Whiteness: Race in the Early Jazz Marketplace (under contract with University of California Press). She has published articles in JAMS, JSAM, and American Music and chapters in Beyond the Bandstand: Paul Whiteman in American Musical Culture (University of Illinois Press, 2024) and Oxford Handbook of Arrangement Studies (2024). Her research interests include jazz, music and race, inequality, gender. She is the co-founder of the AMS Jazz and Improvisation Study Group.

Anna B. Gatdula is Assistant Professor at University of North Carolina at Chapel Hill. She received her Ph.D. from the University of Chicago in 2023 (“Spectacles of a Nuclear Empire: Opera and Film in the American Atomic Age, 1945–2018”). She has published articles in JSAM, American Music, and Current Musicology. Her research interests include twentieth-century U.S. and Cold War history, opera and performance studies, critical and media theory, sound studies. She is a founding member of Project Spectrum.

Dana Gorzelany-Mostak is Associate Professor of Music at Georgia College and Georgia State University. She received her Ph.D. from McGill University in 2013 (“Pre-existing Music in United States Presidential Campaigns, 1972−2012”). She is the author of Tracks on the Trail: Popular Music, Race, and the US Presidency (University of Michigan Press, 2023). She has published articles in Music & Politics, JSAM, Journal of Popular Music, and American Music, and chapters in Voicing Girlhood in Popular Music: Performance, Authority, Authenticity (Routledge, 2016) and The Oxford Handbook of Music and Advertising (2021). She is the Founder of “Trax on the Trail,” a website and research project that tracks the soundscapes of US presidential elections. She has provided expert opinion for the BBC, The Guardian, Newsweek, CNN, Politico, Vox, and the Washington Post.

Jane Daphne Hatter is Associate Professor at the University of Utah. She received her Ph.D. from McGill University in 2007 (“Marian Motets in Petrucci’s Venetian Motet Anthologies”). She is the author of Composing Community in Late Medieval Music: Self- Reference, Pedagogy and Practice (Cambridge University Pres, 2019). She has published articles in Die Tonkunst and Early Music and a chapter in Conversations: Gender and Religious Change in Early Modern Europe (University of Manchester Press, 2017). She is a fellow at Villa I Tatti for the book project, “Musical Women in Visual Culture of Early Sixteenth-Century Italy: Gender, Sexuality, and Knowledge.” Her research interests include music the visual arts, music associates with women’s rituals, self-reference in music, musical community and digital humanities.

Rebecca Marchand is Professor at Boston Conservatory at Berklee. She received her Ph.D. from the University of California-Santa Barbara in 2007 (“The Impact of the Second Vatican Council on the Concert Mass in the United States”). Publications include a festschrift essay, “Missa Eclectica: Lou Harrison and Artistic Ideologies after Vatican II” (American Institute of Musicology, 2015), as well as book reviews in Bulletin of the SAM, Music & Letters, and Notes. She has served as President (2012–2016) and Planning Committee member for the AMS New England Chapter, and was the on-site chapter representative for AMS Many Musics of America project in 2023. She is the founding member/secretary of Haydn Society of North America. and Faculty Director of the ETUDE (Enhancing Teaching through an Understanding of Diversity and Equity) Scholars at Berklee.

Laurie McManus is Associate Professor at Shenandoah University. She received her Ph.D. from the University of North Carolina at Chapel Hill in 2011 (“The Rhetoric of Sexuality in the Age of Brahms and Wagner”). She is the author of Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination (Oxford University Press, 2021) and Trauma, Sound, and Music in the Contemporary Horror Film (under contract at Routledge). She has published articles in Nineteenth-Century Music, Quarterly Review of Film and Video, JMHP, Jazz Perspectives, Studi Musicali and the American Brahms Society Newsletter. Her research interests include trauma studies, gender studies, film music, nineteenth-century music, Brahms, and Wagner. She received the AMS Bozarth Award Recipient. She has served as the Vice-Chair of the AMS Capital Chapter and Vice President of the American Brahms Society.

Toru Momii is Assistant Professor at Harvard University. He received his Ph.D. from Columbia University in 2021 (“Music Analysis and the Politics of Knowledge Production: Interculturality in the Music of Honjoh Hidejirō, Miyata Mayumi, and Mitski”). He has published articles in Music Theory Online, Music Theory Spectrum, and Circuit. He is the co-organizer of the Engaged Music Theory Working Group. His research interests include musical interculturality, racial and colonial politics of U.S./Canadian music theory, performance analysis, Asian/American performance, gagaku, and popular music of Japan and the Japanese diaspora.

Matthew Mugmon is Associate Professor at University of Arizona. He received his Ph.D. from Harvard University in 2013 (“The American Mahler: Musical Modernism and Transatlantic Networks, 1920–1960”). He is the author of Aaron Copland and the American Legacy of Gustav Mahler (University of Rochester Press, 2019; AMS 75 PAYS Subvention) and the co-editor of Ambrosiana at Harvard: New Sources of Milanese Chant (Harvard University Press, 2010). He has published articles in The Journal of Musicology, Journal of Musicological Research, Music & Letters, and the Grove Dictionary of American Music, and chapters in Leonard Bernstein in Context (Cambridge University Press, 2024) and The Symphonic Repertoire, Volume V: The Symphony in the Americas (Indiana University Press, 2023). His research interests include American music, modernism, reception, and music history pedagogy. He is a member of the JAMS Editorial Board and the AMS Communications Committee.

Diane Oliva is Assistant Professor at the University of Michigan. She received her Ph.D. from Harvard University in 2020 (“Earthquakes in the Eighteenth-Century Musical Imagination”). She has published articles in JAMS and essays in American Contact: Objects of Intercultural Encounters and the Boundaries of Book History and Adventure, Inquiry, Discovery: CLIR-Mellon Fellows and the Archives. Her research interests include Atlantic world, colonial music, early modern music. She is the Co-Chair of the AMS Committee on Race, Indigeneity, and Ethnicity.

Linda Pearse is Professor of Music at Mount Allison University and the Canada Research Chair in Music, Contact, and Conflict. She received her Doctor of Music Indiana University Bloomington in 2011 and is a Ph.D. candidate at McGill University (ABD ant. 2026) (“The Sonic Machine: Sound and Music in the Thirteen Years’ War (1593–1606) between the Austrian Habsburgs and Ottomans”). She is the co-author of The Early Trombone: A Catalogue of Music (Brepols, 2023) and editor of Seventeenth-Century Italian Concerted Motets with Trombone, Collegium Musicum (A-R Edition, 2014). She has published a chapter in Navigating Stylistic Boundaries in the Music History Classroom (Routledge, 2024) and articles in Cahiers de la Société Québécoise de recherche en musique, MUSICultures: Journal of the Canadian Society for Traditional Music, Intersections: Canadian Journal of Music, and the Journal of the Society for Ming Studies. She is the Director and performer of Hidden Treasures: Seventeenth-Century Music of Habsburg and Bohemia (ATMA 2019) and Seventeenth-Century Italian Motets with Trombones (ATMA 2015).  Her research interests include intercultural encounter and music of the 16th and 17th centuries, sound studies, early brass instruments. She currently serves on the Teaching Music History Committee (2024–).

Jillian Rogers is Assistant Professor at University of Florida. She received her Ph.D. from UCLA in 2014 (“Grieving Through Music in Interwar France: Maurice Ravel and His Circle, 1914-1934”). She is the author of Resonant Recoveries: French Music and Trauma Between the World Wars (Oxford University Press, 2021) and co-editor of Oxford Handbook of Music, Sound, and Trauma Studies (under contract). She has published articles in JAMS, Nineteenth-Century Music Review, and Transposition, Music & Letters, and chapters in Music and War in Europe from the French Revolution to WWI (Brepols, 2016) and Music and Death: Funeral Music, Memory and Re-Evaluating Life (Boydell & Brewer, 2023).  Research interests include 19th/20th-century French music, sound studies, disability studies, 20th/21st-century musical institutions, and music, gender, and sexuality. She has served as a review editor for JAMS and is the co-founder of the AMS Music, Sound, and Trauma Study Group.

Eduardo Sato is Assistant Professor at Virginia Tech. He received his Ph.D. from the University of North Carolina at Chapel Hill in 2023 (“Modernist Crossing in Brazilian Music, 1910−1954”). He has published articles in Estudos Avançados and Twentieth-Century Music (forthcoming). His research interests include Brazilian music, transnationalism, modernism, music and race. He is a recipient of AMS M. Elizabeth C. Bartlet Travel Grant (2021) and AMS Howard Mayer Brown Fellowship (2022). He is a member of the Eileen Southern Travel Fund Committee.

Saraswathi Shukla is Visiting Assistant Professor at University of Colorado Boulder. She received her Ph.D. from the University of California Berkeley in 2021 (“A Material and Anti-material History of the Ancien Régime Harpsichord: Enlightenment Economies of Artisanal Knowledge”). She has published articles in Sound Studies Review, Keyboard Perspectives, and Eighteenth-Century Music. Her research interests include harpsichord, early music revival, 17th/18th-century music, and France. She is a recipient of the AMS 50 Fellowship, Georges Lurcy Fellowship, Chateaubriand, and DAAD Study Scholarship.

Rachana Vajjhala is Assistant Professor at the University of California Davis. She received her Ph.D. from the University of California, Berkeley in 2015 (“The Politics of Belle Époque Ballet”). She is the author of Kinetic Culture: modernism and Embodiment on the Belle Epoque Stage (University of California Press, 2023) and has published articles and chapters in 19th-Century Music, JRMA, and the Oxford Handbook of Contemporary Ballet. Her research interests include ballet and twentieth century music.