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.
At work: Sherry conducts research at the Rock and Roll Hall of Fame Library and Archives in Cleveland, Ohio.
"At the stage door...
...beyond the day, there is a magic that invites my stay. Silhouettes in shadow gather from yesteryear. How, they ask, did we catch your ear? Your sonic world at play, the timber of your art, filled a void in my childhood heart.
These aural environs made such an impression. They saved me from the sounds of musical regression. You made your mark on the world and in mine. Allow me to play it forward in time. Now, dear friends, return to the stage, where you'll live on in limelight's sage. The gift of your song, your prowess and pleasure, will always be remembered, measure for measure."
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. The asterisk next to "artists" indicates artist families, friends and colleagues. Sherry refers to the "degrees of preservation" to note connections.
To be a preservationist means to have the heart of a public servant. Sherry's objective is to elevate communities through the unique narrative of their local music history and heritage to promote diversity and social, cultural and economic revitalization.
Sherry represents a departure from the traditional preservationist whose work focuses on the material (buildings, artifacts, landscapes) and takes place in a classroom, museum, architectural firm or government office. She prioritizes the intangible heritage of music itself, including its human footprint, which adds indispensable value to the physical.
Unlike the more exclusive workspaces of conventional professionals, Sherry prioritizes 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.