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Faculty & Staff > History & Theory >Ben Steege |
Ben Steege
Benjamin Steege is a music theorist and historian who studies the intertwined cultural histories of music, music theory, pedagogy, science and technology in modernity. His interests include the history of listening; material culture of music in the 19th to 21st centuries; music and the culture of experiment; relations between musical and scientific modernisms; ideas of “progress” and of the avant-garde; past and present notions of temporality; historiography. He is currently working on a project exploring the position of 19th-century scientist Hermann von Helmholtz in relation to contemporary discourses of sensation, aurality, attention, and humanism. He has published on the work of Edgard Varèse, and is now writing about how a range of musical modernisms engaged new forms of technological modernity emerging around 1900. Prof. Steege has previously taught at Williams College and Harvard University. He is the recipient of the Alvin H. Johnson AMS 50 Dissertation Fellowship from the American Musicological Society and a grant from the Deutscher Akademischer Austausch Dienst to support research in Berlin.Benjamin Steege
Assistant Professor of Music
Curriculum vitae
Assistant Professor of Music
Curriculum vitae
Department of Music (starting Fall 2007)
Stony Brook University
Stony Brook, NY 11794-5475
631-632-7330
Education
Harvard University, Ph.D., 2007
Columbia University, B.A., summa cum laude, with Department Honors in Music, 2000
Academic Employment
Visiting Assistant Professor of Music, Williams College, 2006-2007
Teaching Fellow in Music, Harvard University, 2003-2005
Grants and Fellowships
Alvin H. Johnson AMS 50 Dissertation Fellowship, American Musicological Society, 2005-2006
Deutscher Akademischer Austausch Dienst Research Grant, 2004-2005
Krupp Foundation Fellowship, Minda de Gunzburg Center for European Studies, Harvard University, 2004-2005
Sinclair Kennedy Traveling Fellowship, Harvard University, 2004-2005 (declined)
Papers
“Varèse in vitro: On Attention, Aurality, and the Laboratory,” Current Musicology 76 (Fall 2003)
“Material Ears: Pathologies of Modern Attention in Helmholtz’s Physiological Aurality” (American Musicological Society, Seattle, 2004)
“Modern Attention and Modernist Aurality in Helmholtz and Varèse” (Columbia U. Graduate Student Conference in Music Scholarship, 2004)