Scholar Musician Leader
I am an experienced scholar, musician, and leader. Beginning on July 1, I will be joining the University of Kentucky as Director of the School of Music. I have also served as Associate Dean of Community Engagement and Entrepreneurship in the College of Music at Florida State University and Dean of the School of Liberal Arts and Sciences at Roberts Wesleyan College (Rochester, New York).
Before moving into academic administration, I was an Associate Professor of Music at Western Michigan University, where I taught undergraduate and graduate courses in music history, film music, world music, and music theory. I completed my M.A. and Ph.D. degrees in Historical Musicology and my M.A. in European History at the University of Rochester.
I maintain a busy schedule as a writer, composer, pianist, and podcaster. You can listen to my first season of podcasts–consisting of episodes from my original science fiction audio novel, complete with original musical soundtracks–on the “My Radio” page. Other original music is available on the “My Music” page, as well as on his YouTube channel.
I’m preparing for the launch of season 2 of my podcast series featuring readings from my science fiction novel. Stay tuned for information about the Fall 2018 launch date.
I will be presenting a paper on Lewis Mumford, technology, and participation in the arts at the next national conference of the College Music Society, October 11-13, 2018. The conference will take place in Vancouver.
I’m also preparing for a guest residency scheduled for January 2019. More information soon!
Several of my short original compositions were featured on a program for families at the Cape Girardeau Public Library in Cape Girardeau, Missouri, June 16, 2018. For more information, click this link.
I was in Indianapolis for the national conference of the Popular Culture Association (March 28-31, 2018). I gave a paper on music in the television series Dexter.
My second annual Christmas Podcast on “My Radio” @ stanpelkey.com is available!
On December 13, 2017, I completed some additional recording at Sound of Cypress studio in preparation for my second annual Christmas podcast. You can also watch the resulting video at my YouTube channel. (Follow the link at the bottom of this page.)
From November 1 through November 5, 2017, I was back in Milwaukee for the annual Film & History conference. It was an outstanding conference this year, and I appreciated the chance to meet several new scholars and become reacquainted with others.
On Friday, October 27 and Saturday, October 28, 2017, I was at the University of Massachusetts Amherst for the Northeast Popular/American Culture Association annual conference. I presented a paper on Dexter.
I spent the afternoon of Saturday, April 22, 2017, working with a group of my friends and colleagues on a recording and video project, which I have shared on my YouTube channel. I want to thank my partners: Sound of Cypress studio, videographer and photographer, Brian LaBrec, and Sophia Han (violin) and Zach Stern (saxophone).
On Monday, April 3, 2017, members of the Bold City Contemporary Ensemble performed movements from two of my chamber pieces in a concert at Christ Presbyterian Church in Tallahassee, Florida.
Maddie Pelkey joined the team as our first guest blogger in March! You can read her post about auditioning for music programs by following the link among the recent posts found on this page.
I have joined the board of The Silent Film Sound & Music Archive. This organization is doing wonderful work to preserve the music of the silent film era and to make it available to listeners and performers today.
During the Fall 2016 semester, I was in Milwaukee for the Film & History conference where I was part of a panel on Friday, October 28.
It was also a great pleasure to have been able to visit Rhodes College in Memphis, Tennessee, over several days in October 2016 as the guest of the departments and programs in History, Music, Film Studies, and Urban Studies. I gave a presentation on Arts Entrepreneurship, discussed interdisciplinary research during a lunch-time “round table” with history faculty and students, shared with composition students about my work as a composer, and presented a public lecture, ‘Megamachines, Monsters, and Music: Nuclear Culture on American and British Science Fiction Television from the 1950s to the Present.’
I presented a recital of original compositions on Sunday, April 17, 2016, in Thomasville, Georgia. The program included several of my chamber works for winds and a major new piano work. I was joined on the program by talented graduate students from Florida State University. To view pictures and to listen to sample recordings, visit my post about the recital (“My Chamber Recital”).
I am pleased to be able to provide leadership for the Music Entrepreneurship program at the College of Music at Florida State University. Check out some of my posts on music entrepreneurship, or read the news story (below) about some of the recent projects and activities related to entrepreneurship in the FSU College of Music. (Scroll to the bottom of the second linked page for additional audio):
Here is a preview of a recent post:
A Review of Jerry Leake’s latest album, Crafty Hands (2016)
December 13, 2016
Boston-based world-rock-fusion percussionist Jerry Leake is a special kind of musician. He deftly moves in and through numerous traditions from around the world – with deep respect and gratitude – yet also comfortably resides in contemporary styles and forms. But more than that, in his latest release, Crafty Hands (2016), Jerry offers listeners new pieces in which he combines and recombines his many musical interests and passions. One could use words such as “eclectic” and “collage” to describe the results, but these do not adequately capture the coherence and musically satisfying nature of Jerry’s accomplishments. The image that comes to my mind is of a colorful kaleidoscope, where an ever-so-slight turn shifts distinct bits into an entirely new and vibrant pattern. One can listen to and for the distinct musical inflections or instruments from West Africa, the Middle East, and India, but it is the coherent new soundscapes—always delightful and often deeply moving—that really matter.