Sherry Davis, M.A.
Music Historian & Preservationist
Sherry leverages a lifelong passion for the musical past and a vitae of interdisciplinary education and experience to inform her work as an historian and preservationist.
She enjoys operating in the field as a scholar-practitioner where her work has a direct impact on the relationship between music history and heritage and the broader public as an emerging approach to preservation in practice. Establishing new research, events, exhibits, films and publications, Sherry is a pioneer charting her own course.
Photo: At work, Sherry conducts research at the Rock and Roll Hall of Fame Library and Archives in Cleveland, Ohio.
“It’s fantastic to see that Sherry’s dedication to preserving such important musical heritage, encompassing places linked to rock and roll legends such as the Everly Brothers and Buddy Holly, has been featured in Vintage Rock magazine and will receive wider recognition.
Since her dissertation at Westminster, Sherry has pioneered research in this field and strived to engage the public with these great stories of music history.”
-David Brooks, Alumni Relations Officer
University of Westminster
The Many Hats She Wears
Five A's Approach
Artform of Public Service
What Makes Her Unique
Sherry understands that music preservation isn't a linear process and its success requires personal and professional versatility. She enjoys wearing the hats of historian, preservationist, social scientist, musician, cultural strategist, communications designer and creative!
Sherry addresses five areas to preserve the ecosystem of music history and heritage: art, artists, audiences, artifacts and architecture. She refers to their interconnectedness as the "degrees of preservation" that work in concert like a finely tuned orchestra.
Sherry believes to be a preservationist means to have the heart of a public servant. Her objective is to elevate communities through the unique narrative of their local music history and heritage to promote social, cultural and economic revitalization.
Sherry represents a departure from the traditional preservationist whose work focuses only on the material (buildings, artifacts, landscapes). She centers on the intangible cultural heritage of music itself, including its human footprint, which adds indispensable value to the physical.
Unlike the more exclusive workspaces of conventional professionals (classrooms, museums, architectural firms, government offices), which are esoteric and have limited reach, Sherry has the latitude to prioritize her scope of work via Main Street. With virtual and in-person initiatives centering on inclusivity, her intent is to reach a broader public and build towards sustainable audience development by creating accessibility, relevance and excitement for music history and heritage.