Musicology: Faculty Biographies

		Jeongwon Joe, Associate 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, mass entertainment, 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 (2nd ed., 2008). He is the author of the book Lady in the Dark: Biography of a Musical (Oxford University Press, 2007), which received both the Theatre Library Association’s George Freedley Memorial Award, 2006 Special Jury Prize; and the 2007 Kurt Weill Prize. It also received a 2008 ASCAP Deems Taylor Award. 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.
		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 and Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution, and is the co-editor of and contributor to The Eighteenth-Century Symphony (in preparation for Indiana U. Press). She has contributed to many books, including The Cambridge Companion to the Symphony (forthcoming); Musik und Bürgerkultur: Leipzigs Aufstieg zur Musikstadt; The Cambridge Mozart Encyclopedia; Florilegium Musicae: Studi in onore di Carolyn Gianturco; Oxford Composer Companions: Joseph Haydn; Analecta III: Liszt and the Birth of Modern Europe; Searching for Common Ground: Diskurse zur deutschen Identität 1750–1871; De Clavicordio IV; and Music and Culture in America, 1861–1918. Her articles and reviews have appeared in a variety of journals, including Min-Ad: Israel Studies in Musicology Online, Eighteenth-Century Music, 19th-Century Music, Notes, The Beethoven Journal, The Musical Times, The Journal of Musicological Research, and Music & Letters. A past president of the Southern Chapter of the American Musicological Society, she has served on various AMS standing committees and on the boards of the Mozart Society and the Society for Eighteenth-Century Music. She has held a Fulbright-Hays Fellowship (1981–1982), an Alexander von Humboldt-Stiftung Fellowship (1991–1992), and a National Endowment for the Humanities Collaborative Grant (2006–08).  Dr. Morrow has taught previously at Loyola University New Orleans and the College of the Ozarks. Ph.D., Indiana University; CCM since 1999.
		Matthew Peattie, Assistant Professor is a musicologist whose research interests include medieval chant, performance practice and the intersections of early music studies and musical anthropology.  Dr. Peattie completed his Ph.D at Harvard in 2005 with a dissertation entitled “The Beneventan Antiphon and the influence of Beneventan Style in South Italian Office.” He also holds degrees in musicology from the University of Calgary and Université de Montréal. Dr. Peattie has presented papers at the national meeting of the American Musicological Society, the Med-Ren Conference of the Royal Musical Association, and at the Pontifical Institute of Medieval Studies.  He is currently working on a critical edition of the Beneventan Chant, and writing about issues of translation and transcription in medieval music.  Dr. Peattie is active as a teacher and ensemble director.  He was a lecturer in music at Harvard from 2005-07, and director of Ensemble 1521, a Boston based ensemble specializing in really old and really new music. In addition to his musicological interests, Dr. Peattie has had an active career in academic administration and student affairs.  Dr. Peattie served as an Allston Burr Resident Dean in Harvard College from 2004-07 where he worked in academic advising.  In 2007-08 he was the Associate Director of the Atkinson Centre at York University in Toronto where he worked on issues of access to higher education and support for under-represented groups including part-time students and adult learners. Ph.D., Harvard University; CCM since 2008.
		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.