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Frederick Reece studies music and sonic culture from 1789 to the present, with thematic research focusing on issues of authorship and identity, and the conceptual intersections of sound with the occult and supernatural. His book, Forgery in Musical Composition: Aesthetics, History, Canon, published by Oxford University Press in 2025, examines the practice of compositional forgery—wherein individuals fraudulently attribute famous historical names such as Haydn, Mozart, and Schubert to their own original works. This text argues that fake historical masterpieces are characteristic byproducts of the canon's internal logic, where successful forgeries seduce by mirroring deep-rooted cultural beliefs surrounding authenticity, innovation, and meaning in music. Reece has published further articles and book chapters in notable venues including the Journal of Musicology, the Journal of the American Musicological Society, and the Oxford Handbook of Public Music Theory. At the University of Washington, Reece offers a variety of seminars related to his research interests and core music theory classes for both majors and non-majors. He has previously held positions as a Postdoctoral Resident Scholar and Visiting Assistant Professor of Music Theory at Indiana University, as well as a Lecturer in Musicology and Music Theory at the Frost School of Music, University of Miami.
University of Washington • Seattle, WA
Frederick Reece teaches seminars related to his research interests and core music theory analysis classes for majors and non-majors.
Indiana University • Bloomington, IN
Held a visiting position in Music Theory.
University of Miami, Frost School of Music • Miami, FL
Lectured on Musicology and Music Theory.
Standard Graduate School requirements for University of Washington apply to most departments listed unless specified otherwise by the program.