Musicology: Faculty Biographies

		Melinda Boyd, Visiting Assistant Professor, has taught as adjunct faculty at the University of British Columbia, and was Visiting Assistant Professor at CCM in 2004-05.  Her dissertation, “Opera, or the Doing of Women: The Dramatic Works of Ingeborg von Bronsart (1840-1913),” reflects her primary research interest in opera (nineteenth and twentieth century) and women composers.  Other special topics include music and representation, aesthetics, and interdisciplinary studies. At CCM, she has taught special topics courses on German Romantic opera and the music of Robert and Clara Schumann, and a doctoral seminar on Wagner’s Ring cycle. Her most recent publication is an interdisciplinary article included in A Vision of the Orient: Texts, Intertexts and Contexts of Madam Butterfly (University of Toronto Press, 2006). She has presented papers on her research at the annual conference of the Society for American Music (March 2006), the Society for Music Theory (2001), the Canadian University Music Society (2000), as well as at meetings of the American Musicological Society Pacific Northwest Chapter.  Boyd was the recipient of a four-year doctoral fellowship from the Social Sciences and Humanities Research Council of Canada in 1996. Ph.D., University of British Columbia.
		Norbert Dubowy, Visiting Assistant Professor, is a musicologist specializing in music from the 17th to the early 19th century, Italian opera, Alessandro Scarlatti, and the historical development of the orchestra and instrumentation. His publications include books and articles on subjects such as baroque ritornello form, Venetian opera, the baroque serenata, cultural transfer in the 17th and 18th century, Italian musicians in the German Hofkapellen, and composers such as Claudio Monteverdi, Alessandro Scarlatti, Antonio Vivaldi, Ignaz Holzbauer and Johann Simon Mayr. Dr. Dubowy has held fellowships from the Centro Tedesco di Studi Veneziani in Venice, the University of Munich, and Deutsche Forschungsgemeinschaft in Bonn. He was a research fellow at the German Historical Institute in Rome (1989–92) and has taught in various European Universities (Lecce, Regensburg, Heidelberg, Salzburg, Vienna, and Fribourg). He was a visiting professor at the University of Michigan in Ann Arbor, 2005–06. Ph.D., University of Munich.
		Jeongwon Joe, Assistant Professor, is a musicologist specializing in twentieth-century music. Her research interests include the intersections of opera and cinema, film music, and cultural studies. Dr. Joe is co-editor of Between Opera and Cinema (Routledge, 2002) and her essays and reviews have been published in Cambridge Opera Journal, The Journal of Musicological Research, Notes, Opera Quarterly, The British Journal for Eighteenth-Century Studies, and such collections as Music of the Sirens (Indiana University Press, 2006) and Changing Tunes: The Use of Pre-existing Music in Film (Ashgate, 2006). Dr. Joe is currently writing a monograph, Opera as Soundtrack, and co-editing a collection, Wagner and Cinema, with Sander Gilman, Distinguished Professor of the Liberal Arts and Sciences at Emory University. Her future topics for research include “Music and Silence: Before and Beyond John Cage” and “Western Opera's Diaspora in Korea.” She has presented papers at numerous conferences including the national meeting of the American Musicological Society, the Society of Cinema and Media Studies, the International Musicological Society, the Modern Language Association, and the International Wagner Symposium. Dr. Joe has taught previously at the University of Nevada, Reno; Northwestern University; and Michigan State University. Ph.D., Northwestern University; CCM since 2004.
		Jonathan Kregor, Assistant Professor, is a musicologist specializing in nineteenth-century music. His research interests include aesthetics, Franz Liszt, musical reproductions, music and memory, virtuosity and gender, and art songs. He has published articles and reviews in The Journal of Musicology, Nineteenth-Century Music Review, Journal of the American Liszt Society, and Notes; and has given papers on Liszt and Clara Wieck-Schumann at numerous national and international conferences. He is a recipient of fellowships from the German Historical Institute and the Stiftung Weimarer Klassik. Dr. Kregor is currently writing a monograph on Liszt’s transcriptions for solo piano. Other topics in preparation include investigations of Liszt’s late style, Robert Schumann and virtuosity, and the use of “early music” in the virtuoso repertoire. He is also keenly interested in the pedagogy of music and its history. Ph.D., Harvard University; CCM since 2007.
		bruce d. mcclung, Associate Professor, is a musicologist whose interests include American music, musical theater, Baroque performance practice, manuscript studies, and critical editing. He is the recipient of a teaching award from the University of Rochester and has been nominated for two such awards here at UC. His research appears in The Opera Quarterly, Theater, The Kurt Weill Newsletter, and in the collections A Stranger Here Myself: Kurt Weill Studien (1993) and The Cambridge Companion to the Musical (2002). He is the author of the book Lady in the Dark: Biography of a Musical (Oxford University Press, 2007), which received the Theatre Library Association’s George Freedley Memorial Award, 2006 Special Jury Prize; and and the 2007 Kurt Weill Prize. He is the volume editor for the critical edition of Lady in the Dark (forthcoming) for the Kurt Weill Edition and he served as the music and text consultant for the Royal National Theatre’s production of that musical play. He has held an American Musicological Society, Alvin H. Johnson AMS 50 Fellowship (1991–92). Dr. mcclung taught previously in an adjunct capacity at the Eastman School of Music and the University of Rochester. Ph.D., University of Rochester; CCM faculty since 1992. Dr. mcclung is on sabbatical for the 2007–08 academic year.
		Mary Sue Morrow, Professor, is a musicologist whose research interests include 18th-century music, aesthetics and criticism, reception history, nationalism, and the sociology of music. She is the author of two books, German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music (Cambridge University Press, 1998) and Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution (Pendragon Press, 1989). Her articles and reviews have appeared in 19th-Century Music, Music & Letters, The Beethoven Journal, The Musical Times, and many other musicological publications. She has held a Fulbright-Hays fellowship (1981-1982) and an Alexander von Humboldt-Stiftung Fellowship (1991-1992). Dr. Morrow has taught previously at Loyola University New Orleans and the College of the Ozarks. Ph.D., Indiana University; CCM since 1999. Dr. Morrow is on leave during the 2006-07 academic year.
		Edward Nowacki, Professor, is the Head of the Division of Composition, Musicology, and Theory at CCM. He is a musicologist specializing in Old Roman and Gregorian chant, medieval and Renaissance theory, and philosophies of musical meaning. His numerous reviews and articles have appeared in the Journal of Musicology, Studia Musicologica, Early Music History, and Plainsong and Medieval Music, as well as in the festscrifts for Helmuth Osthoff, Helmut Hucke, and David G. Hughes, the proceedings of the 12th IMS Congress, and the 2nd edition of the international music encyclopedia Die Musik in Geschichte und Gegenwart. In addition, his reviews appear in Notes and Music Theory Spectrum. Dr. Nowacki has held a fellowship from the German Academic Exchange Service (DAAD) at Johann Wolfgang von Goethe University in Frankfurt, and has taught at Brandeis University and Indiana University. Ph.D., Brandeis University; CCM since 1988.
		Stephanie P. Schlagel, Associate Professor, is a musicologist specializing in the music of Josquin des Prez, the 15th- and 16th-century motet, reception history, and historiography. Her articles and reviews have been published in the Journal of Musicology, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis [TVNM], Notes, and Rivista Italiana di Musicologia. Her edition of Si placet Parts for Motets by Josquin and His Contemporaries appears in the Recent Researches in the Music of the Renaissance series. She has presented her research at national meetings of the American Musicological Society and at the international conference, "New Directions in Josquin Scholarship." Dr. Schlagel is the director of the CCM Early Music Lab, and she plays the viola da gamba and recorders with that group. She has taught previously at Colorado College and University of North Carolina, Chapel Hill. Ph.D., University of North Carolina, Chapel Hill; CCM since 1998.