Blake Stevens is a musicologist and tenured Associate Professor in the School of Arts at Peking University. He is editor of Teaching Electronic Music: Cultural, Analytical, and Creative Perspectives (2022) and has published research on topics ranging from French Baroque opera and eighteenth-century criticism and aesthetics to the historiography of electroacoustic music. He received a PhD in Music History from Stanford University with a dissertation on the tradition of the monologue in French opera and tragedy in the ancien régime (“Solitary Persuasions: The Concept of the Monologue in French Opera from Lully to Rameau”). His doctoral research was recognized with a grant from the Georges Lurcy Trust for archival work in Paris and a year-long residency at the Stanford Humanities Center.

Electroacoustic music, operatic aesthetics and dramaturgy, Baroque keyboard music, and philosophies and practices of musicological pedagogy.

Graduate Courses:

“Electronic Music and Intermedial Aesthetics”

“Studies in Baroque Opera”

Undergraduate Courses:

“Introduction to Music”

“Film Music”

2007: PhD, Musicology, Stanford University

2002: MA, Musicology, Stanford University

1998: B.Mus, Music Performance, University of Utah

2022–: Associate Professor with tenure, Peking University

2015–2022: Associate Professor with tenure, College of Charleston

2009–2015: Assistant Professor, College of Charleston

Selected Publications

Editor, Teaching Electronic Music: Cultural, Analytical, and Creative Perspectives (New York: Routledge, 2022).

“Teaching Global Music History: Comparative Approaches in Chinese Historiography,” co-authored with Annie Yen-Ling Liu, in Listening Across Borders: Musicology in the Global Classroom, eds. Chris Lynch and James Davis (New York: Routledge, 2022).

“Connecting Music and Computer Science: An Interdisciplinary Learning Community for First-Year University Students,” co-authored with Bill Manaris, in Performing Arts as High-Impact Practice, ed. Michelle Hayford and Susan Kattwinkel (Cham, Switzerland: Palgrave Macmillan, 2018), 68–82.

“JythonMusic: an environment for teaching algorithmic music composition, dynamic coding, and musical performativity,” co-authored with Bill Manaris and Andrew R. Brown, in Journal of Music, Technology, and Education 9 (2016), 33–56.

“The Spectacular Imagination and the Rhetoric of Absence in Armide,” in Silence and Absence in Literature and Music, eds. Werner Wolf and Walter Bernhart (Leiden and Boston: Brill, 2016), 47-62.

“The Production of Space in the Tragédie en Musique: 'Absence Effects' in Lully and Quinault's Atys," Music and Letters 96 (2015), 509-33.

“Transpositions of Spectacle and Time: The Entr’acte in the Tragédie en musique,” Eighteenth-Century Music 11 (2014), 11-29.

“Monologue Conflicts: The Terms of Operatic Criticism in Pierre Estève and Jean-Jacques Rousseau,” Journal of Musicology 29 (2012), 1-43.