CMS Welcomes New Board Members for 2017

The Society wishes to thank the following board members whose terms expired December 31, 2016. We are so grateful for your service.

  • Betty Anne Younker, CMS President (continuing in the role of Immediate Past President)
  • Jennifer Sterling Snodgrass, CMS Vice-President
  • Sharon Poulson Graf, Board Member for Ethnomusicology
  • Juan Chattah, Board Member for Music Theory
  • Craig Parker, Board Member for Musicology

The Society would like to welcome the following new board members whose terms begin January 1, 2017:


ward keith2Keith Ward is Director of the School of Music and Distinguished Professor of Music at the University of Puget Sound in Tacoma, Washington.  He also has held positions at Penn State University, Denison University, and Pittsburg State University.  He completed his degrees at Northwestern University (D.M. in piano performance, M.M. in piano performance/pedagogy) and West Chester University (B.M. in performance).  As a pianist he has given many performances on guest artist series, many campuses, national and regional conferences, and  radio.  His scholarship has focused on Arnold Schoenberg and Charles Ives, American piano music of the 18th and 19th centuries, and musical responses to the AIDS pandemic. His book, For the Parlor & the Concert Stage: A Guide to Recent Collections of American Piano Music from the Classic and Romantic Eras, is volume 21 the Society’s Monographs and Bibliographies in American Music series. From 2012 through 2014 he served on the Commission on Accreditation for the National Association of Schools of Music.    

Ward joined CMS as a graduate student in 1981.  Since 2003 he has served on the organization’s national committees, including the Committee on Academic Leadership and Administration, which he chaired for four years, the Nominating Committee, and the Professional Development Committee.  Under his watch the Committee on Academic Leadership and Administration published sixteen articles for the Newsletter, conducted six sessions at national conferences (two of them at NASM), and held a day-long, pre-conference workshop. He also has been active for well over a decade in career services through conducting mock interviews at national conferences and serving as a mentor.    Ward was on the Program Committee for the national conference in Portland, Oregon (2009), and in 2015 he was on the Program Committee for the Pacific Northwest chapter conference, held at his institution, the University of Puget Sound.  



James PeroneA native of Columbus, Ohio, Dr. James Perone serves as Associate Dean of the Faculty and the Margaret Morgan Ramsey Professor in Music at the University of Mount Union. Jim holds degrees in music education, clarinet performance, and music theory from Capital University and the State University of New York at Buffalo. At Mount Union, he has taught courses in American music, popular music of the Vietnam era, music theory, orchestration and arranging, and a freshman seminar on the development of British Invasion rock and roll. After joining CMS as a graduate student in the 1980s, Jim began attending national and regional meetings of the Society. He served in several positions with the Great Lakes Chapter, including Program Chair (1998), Treasurer (1998—2000), Vice President/President‐Elect (2000—2002), Conference Site Coordinator (2001), President (2002—2004), and Secretary (2006—2008). At the national level, Jim has served on the Advisory Board for Music in General Studies, Board Member for Music in General Studies (2009—2011), National Conference Program Committee Chair (2014), and on several other national and international conference program committees. In addition to his teaching and administrative work at Mount Union, and his performing work as a clarinetist and bass guitarist, Jim is active as an author. His recent Praeger Publishers books include The Words and Music of Melissa Etheridge and The Words and Music of Elvis Costello.



Board Member for Ethnomusicology

hung ericEric Hung (B.A., Wesleyan University, Ph.D., Stanford University) is Associate Professor of Music History at Westminster Choir College of Rider University, where he teaches courses on the music of China, music of Southeast Asia, public musicology, American music, 20th‐ and 21st‐century music, popular music, and such topic‐based seminars as “Music and Trauma,” “Asian and Latina/o American Music,” “Music and Ecology.” He founded and co‐directs the College’s Chinese Music Ensemble. Deeply aware of how the techniques of public musicology can enhance community engagement and thereby make music history more relevant to the students, Hung has incorporated oral history and the planning of concerts based on local histories into the core Westminster Choir College music history curriculum. Some of his student’s works can be found at: For these efforts, he won the 2013 Teaching Fund Award from the American Musicological Society, and the 2012‐13 Bertram Mott Award for making a significant contribution to the development and enhancement of academic programs at Rider University.

As a musicologist and ethnomusicologist, Hung’s research focuses on Asian American music, the history and methodologies of public musicology, popular music, and music in film, television, and new media). His articles can be found in such journals as Asian Music, MusiCultures, Notes, and several edited collections. Among the encyclopedias he has contributed to are the Grove Dictionary of American Music, 2nd edition, Asian American Society, and Encyclopedia of American Music and Culture. Hung has presented at the national or international meetings of the International Council for Traditional Music, the International Association for the Study of Popular Music, College Music Society, Society for Ethnomusicology, American Musicological Society, Association for Asian American Studies, and the Society for American Music. He has also given invited talks at Princeton, Rutgers, the Chinese University of Hong Kong, the New Zealand School of Music, and the universities of Melbourne, Queensland, and Otago. He is currently finishing a monograph entitled The Sounds of Asian American Trauma, and working with Jason Hanley on an edited collection on public musicology.

As a performer, Hung is a pianist who has performed in Germany, Austria, Australia, New Zealand, and numerous cities in North America. As a member of Gamelan Dharma Swara since 2005, he has performed in Bali, and at such prestigious venues as the Metropolitan Museum of Art, the Smithsonian, the Museum of Modern Art, and Yale and Princeton Universities. He was the Executive Director of the ensemble in 2011‐12, and is currently a member of the Music Teaching Team. Hung also plays erhu in and occasionally conducts the Westminster Chinese Music Ensemble.

In terms of service in professional organizations, he has been a Board Member of the Canadian University Music Society (2011‐14), the English Reviews Editor of MusiCultures (the journal of the Canadian Society for Traditional Music), the Chair of the Nominations Committee (2016‐18) and the Housewright Dissertation Prize Committee (2013‐16) for the Society for American Music, a member of the American Musicological Society Council (2011‐13) and Communications Committee (2012‐ 15), and Co‐Chair of the East of California caucus of the Association for Asian American Studies (2010‐12). As the Chair of the Popular Music Study Group of the American Musicological Society (2013‐16), he has organized and served as a mentor for two Junior Faculty Symposiums, which include writing workshops and sessions for publishing, working in academic environments, pedagogy, and work‐life balance.

For the College Music Society, he has served on the Member Proposal Review Subcommittee (2015), the Editorial Board of the Cultural Expressions in Music series (2014‐15), the Cultural Inclusion Committee (2011‐13), and was, for the Northeast Chapter, Chair of the Program Committee (2009), and Board Member for Musicology/Ethnomusicology (2007‐09).



Board Member for Music Theory

fournier karenKaren Fournier is an Associate Professor of Music Theory at the University of Michigan, Ann Arbor, where she teaches classes in the theory and analysis of Western classical music and popular music. Her principal area of research, the role played by women in the formation of the British punk rock movement during its foundation in the mid‐1970s, has generated a book‐length study of such British bands as Siouxsie and the Banshees, the Slits, X‐Ray Spex, the Adverts, and Delta 5. Here, she examines how punk challenged and redefined conventional gender norms and stereotypes in popular culture. Additionally, she has published essays on other aspects of British and American punk in such collections as Beyond No Future: Cultures of German Punk (eds. Mirko Hall, Seth Howes, and Cyrus Shahan), Albums (ed. James Perone), and An Encyclopedia of the 100 Greatest Bands of All Times (ed. David Moskovitz).

Most recently, Fournier contributed the volume entitled The Words And Music of Alanis Morissette to the Praeger Singer‐Songwriter Series. While only tangentially related to her interest in punk, this book nonetheless explores similar issues surrounding societal expectations of, and limits placed upon, female behavior. Among other things, the book argues that the anger and aggression that marks Morissette's 1995 breakthrough album, Jagged Little Pill, traces a direct lineage to the "hysteria" parodied in the performances of many late‐1970s female punks. She is also contracted to contribute a volume on Madonna to the same series, which will be released to coincide with the singer’s 60th birthday in 2018.

Using the history of music theory as the basis for a broader study of conceptual change, Fournier has also published articles on epistemology in such journals at The Journal of Music and Meaning, The Journal of Musicological Research, The Journal of Culture and Power, The College Music Symposium, and Music Theory Spectrum. Her most recent work in this area draws the analogy between research methodologies and biological species and proposes an evolutionary model to explain the growth and development of knowledge in the area of music theory. Her theories stand in diametric opposition to the more popular Kuhnian "revolutionary" model to which many critical studies of music scholarship tend to allude in their descriptions of the field.

An award‐winning pedagogue, Fournier has a particular interest in music theory pedagogy, and has spoken at a number of pedagogy panels and workshops at national meetings of the College Music Society and the Society for Music Teacher Education over the past several years. She has also been actively involved in CMS, having served as the President (2009‐2011), the Vice‐President (2006‐2009), and the Programme Committee Chair (2007) of the Midwest regional chapter. She has also presented her research at six CMS National Conferences between 2003 and 2011 and her attached photo, taken in front of Temple Square, captures a (guilty!) moment spent sightseeing during the 2007 meeting in Salt Lake City.

Fournier believes strongly that a “complete picture” of any musical work depends upon interdisciplinary connections made by theorists between their discipline and other scholarly fields.


Board Member for Musicology

doyle aliciaAlicia M. Doyle is the Director of Music History, professor of musicology, and graduate adviser in the Bob Cole Conservatory of Music at California State University, Long Beach. Specializing in medieval liturgical music, 20th‐century Latin American popular and art music, and music history pedagogy, Dr. Doyle teaches courses in music history, world music, and music appreciation.

Dr. Doyle received her Bachelors degree in Music Performance (Horn) from the University of Southern California where she studied with James Decker. She received her Masters degree in Musicology from the University of California at Santa Barbara under the advising of Dr. William Prizer. Her thesis focused on Florentine carnival music from 1500‐1510. Dr. Doyle’s Ph.D. was also from the University of California at Santa Barbara. Her dissertation, a study of a tenth‐century Aquitanian troper, was completed under the direction of Dr. Alejandro Planchart.

An active scholar, her work in medieval music, world music and music appreciation (and lampshades!) has been published widely. A short list of publications includes “The Sanctus Trope Deus pater ingenitus in Paris Bibliothèque Nationale fonds Latin, 1118: Further evidence of a Southern Origin” Studi Musicali Anno XXXVIII, N.1 (Rome), 2009; “Let There Be Light: Liturgical Manuscripts at Hearst Castle.” In Sleuthing the Music: Essays in Honor of William F. Prizer. Hillsdale, NY: Pendragon Press, 2010; “Maria Unbound: Reconstructing and Contextualizing the Antwerp Manuscript Fragments M6,” in "Qui musicam in se habet": Essays in Honor of Alejandro Planchart (with Kristine K. Forney). American Institute of Musicology, 2014; eight reviews published in Notes; and ancillary materials for all versions of Kristine Forney’s The Enjoyment of Music published by W.W. Norton (9th‐12th editions). In addition to her active publishing she has presented her research at regional, national, and international conferences.

Currently, Alicia Doyle serves as the president of the Pacific Southwest Regional Chapter of the College Music Society. She has also served as committee member and co‐chair of the CMS Academic citizenship committee (2012‐present). She was formerly a two‐term president of the Pacific Southwest Chapter of the American Musicological Society (2010‐2014).