Mission
The Emerging Professional Leadership Council (EPLC) provides young professionals valuable non-profit board experience by working alongside the board of Early Music America to support and advocate for the next generation of early music professionals, performers, scholars, patrons and enthusiasts in the Americas.
EPLC members receive mentorship from EMA board and committee members, take part in EMA board committee meetings, connect with other emerging early music professionals, and make a difference in our community through EMA’s programming.
The EPLC is committed to inclusion, diversity, equity, and accessibility and building a diverse council.
If you have comments or questions for members of EPLC, Contact EMA.
2026-2027 EPLC Members
Hayley Raye Murks-Abdikadirova, co-chair
Eleanor Walters, co-chair
Taylor Brownfield
Zachary Earle
Lillian Gordis
Lin Lao
Shanti Nachtergaele
Alexandra Reyna
Fernando Santiago Serrano dos Santos
Amelia Sie
Eva Skanse
Elene Tabagari
Nicole Vega
EPLC Member Guidelines
- The EPLC will comprise a maximum of 15 members.
- EPLC Members will serve a 2-year term, renewable once for a 1-year term extension. (3-year term max)
- To be an EPLC member in good standing, members are expected to attend a minimum of three of the four quarterly Council meetings (August, November, February, and May) and actively participate in Council projects.
- EPLC members should expect a commitment of four hours per month over 10 months each year.
- All EPLC members receive a complimentary EMA Personal membership.
- Membership is not required at the time of application.
- EPLC members are invited to attend EMA Board meetings (in person or via Zoom), as non-voting participants and to actively participate in EMA’s Board training programs and committees.
- Candidates should be no older than 35 at time of application.
Taylor Brownfield
I am a conductor and percussionist pursuing a Master of Music in Orchestral Conducting at Louisiana State University. I have served as Assistant Conductor of the Rapides Symphony Orchestra and New Orleans Civic Symphony. I have performed with the Oklahoma Baroque Orchestra and Baton Rouge Symphony Orchestra and previously served in the United States Marine Forces Reserve Band. Recently, I participated in the Tafelmusik Baroque Summer Institute and conducted the Sofia Philharmonic (Bulgaria).
Zachary Earle
I’m a cellist and educator based in Michigan, and I’m incredibly excited to serve on EPLC this year! I discovered the cello at the age of ten and developed a passion for the baroque cello through my studies with Bruce Uchimura and Jonathan Manson. As EMA’s Margriet Tindemans 2025 scholar, I recently completed my graduate studies at The Royal Academy of Music working with some of the world’s most influential figures in the early music community. I’m looking forward to sharing my perspective with my new EPLC colleagues!
Lillian Gordis
Hailed as a “Martha Argerich of the harpsichord” (ResMusica), Lillian Gordis is one of the most acclaimed harpsichordists of her generation. Born in Berkeley, she discovered the instrument at 5 and moved to France at 16. She performs internationally as a soloist and in duo with Jérôme Hantaï. Her award-winning albums have earned critical acclaim. Lillian is Eaton Chair of Baroque Music at CU Boulder and directs its historical performance program. She resides in Paris.
Lin Lao
I’m a fortepianist and my passion lies in researching and rediscovering forgotten compositions and performing these works on the historical instruments for which they were composed. I actively perform and present at early-music conferences, and also serve as the chair of the Nominating Committee at the Historical Keyboard Society of North America. I look forward to more adventures at EPLC and EMA. Outside of music, I like to read, hike, and cook.
Hayley Murks-Abdikadirova
Co-chairAs a performer-composer and certified teaching artist, I am thrilled to serve on the EPLC this year! I’m a violist originally from Mississippi, with a wide range of interests in the field of performance as well as arts entrepreneurship and leadership. After completing my graduate studies in viola performance at the Longy School of Music, I’m excited to embark on a new journey working on an advanced degree at Harvard studying arts leadership.
Shanti Nachtergaele
I am a scholar-performer whose work centers on the interplay between musical practice and research. I rely on my perspective as a period double bassist to investigate the history of the instrument, incorporating the study of material culture, reception and identity, musical institutions, and historical performance practices. As of this fall, I teach music history at SUNY Potsdam’s Crane School of Music.
Alexandra Reyna
I’m a Boston-based mezzo-soprano whose work explores the manipulation of resonance, tuning, and rhythmic elements to revitalize early repertoire. I sing with re:harmonia, a chamber ensemble that rearranges early repertoire through unconventional instrumentation and timbre choices. My recent engagements include concerts with the Boston Camerata, a Dowland masterclass with Nigel North, and a 15th-century ensemble intensive at Amherst Early Music Festival. I am so excited to join EPLC to expand accessibility and equity in early music!
Fernando Santiago Serrano dos Santos
Curious and inquisitive, I am a Brazilian baroque violinist, with interests ranging from rhetoric to historical dances. Having recently worked alongside important names of the early-music scene, such as Jos van Veldhoven and John Butt, I continue my investigations with Pavlo Beznosiuk, Rachel Podger, Nicolette Moonen, and dance specialist Mary Collins, as an Enlightenment Award holder at the Royal Academy of Music. Previous education highlights include the São Paulo State University, the Versailles Centre for Baroque Music, and the OSESP Academy.
Amelia Sie
I’m a violinist/violist, newly based in Chicago. In my recent past, I was in NYC, freelancing in the area after graduating from the Juilliard School. Before that, I lived in Boston, first as a student at New England Conservatory and then as a music teacher at Bridge Boston Charter School. When I’m not performing, you can either find me at work as the Fellowship Manager for the Grant Park Music Festival or at home snuggling up with my cats and a good fantasy book.
Eva Skanse
I play historical flutes. I am currently serving as executive director of Lyra Baroque Orchestra of Minnesota, one of the oldest early music orchestras in the country. Before that, I was involved in the founding of 3 early music nonprofits. My research interest is music of the Scandinavian Baroque and I direct an ensemble devoted to this repertoire, the Aurora Ensemble. I studied historical performance at the Longy School.
Elene Tabagari
I’m a harpsichordist from Tbilisi, Georgia, currently studying at Yale School of Music. Prior to Yale, I earned a Master’s degree from The Juilliard School, where I performed with Juilliard415 and served on the Student Congress, combining my dedication to music with my passion for leadership and community-building. I’m an active soloist and continuo player in the US as well as internationally. In my free time, I enjoy escape rooms, flower-arranging, long walks, and the daily NYT games.
Nicole Vega
I’m a Chilean violinist and passionate music educator based in Amherst, MA, with training in both modern and historical performance. I’ve participated in Baroque programs such as the Berwick Academy, Oberlin Baroque Performance Institute, Tafelmusik, and ARTEK. I hold a B.A. from Montclair State University and an M.A. from Florida State University. Passionate about expanding early music’s reach in South America, I recently joined EPLC to gain new skills and connect with inspiring colleagues in the field.
Eleanor Walters
Co-chairI’m Ellie, a Chicago-based early music soprano. I enjoy music of all sorts and especially treasure making music with others. As social media manager for The Newberry Consort, I’m able to bring early music to more people in my community. I recently completed my master’s in early music at USC, and I will use this knowledge to expand my community-facing work by interfacing with the public library system to bring early music to more people.
