Stanley Pelkey
Dean of the School of Liberal Arts and Sciences
location: - Hastings
phone: (585) 594.6207

Courses Taught

MUS 212 Music History & Literature II

MUS 312 Music History & Literature III


Ph.D., Historical Musicology, University of Rochester, Eastman School of Music

M.A., History, University of Rochester

M.A., Historical Musicology, University of Rochester, Eastman School of Music

B.A., Music History and Organ Performance, Asbury College


Trained as a musicologist, historian, and organist, Dr. Stanley C. Pelkey is Dean of the School of Liberal Arts and Sciences and Associate Professor of Music at Roberts Wesleyan College. Before joining the faculty at Roberts, Dr. Pelkey served as a member of the music faculty at Western Michigan University and as Director of Music at the First Presbyterian Church of Battle Creek, Michigan. His research focuses on American film and television music, Handel’s music in nineteenth-century England, and the operas and film scores of Ralph Vaughan Williams. His scholarship has been supported by awards from the American Handel Society and the London Handel Institute, and he was the recipient of the 2009 Ralph Vaughan Williams Fellowship. He has presented numerous papers at scholarly conferences, co-edited Music and History: Bridging the Disciplines (University Press of Mississippi, 2005), has authored entries for The New Grove Dictionary of Music and MusiciansMovies in American History: An Encyclopedia, and The New Catholic Encyclopedia, as well as numerous book reviews, and contributed to the collection Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon(Scarecrow Press, 2010). His book Anxiety Muted: American Film Music in a Suburban Age is forthcoming from Oxford University Press.




Jeffrey H. Jackson and Stanley C. Pelkey, eds. Music and History: Bridging the Disciplines.  Jackson, Mississippi: University Press of Mississippi, 2005.


Pelkey, Stanley. “Still Flyin’? Conventions, Reversals, and Musical Meaning in Firefly.” In Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, edited by Kendra Preston Leonard.  Lanham, Maryland: Scarecrow Press, 2010.


“Benjamin Britten.” New Catholic Encyclopedia: Supplement 2011. Ed. Robert L. Fastiggi.  2 vols. Detroit: Gale, 2011.  


“Film Music.” Movies in American History: An Encyclopedia, edited by Philip C. DiMare.  Santa Barbara, California: ABC-CLIO, 2011.


Review of David W. Stowe, No Sympathy for the Devil: Christian Pop Music and the Transformation of American Evangelicalism (Chapel Hill, NC: University of North Carolina Press, 2011); Music Reference Services Quarterly 14:4 (2011): 271-275.   


Review of Adam Krims, Music and Urban Geography (Routledge, 2007); Bulletin of the Society of American Music 35/2 (Spring 2009): 31–32.


Review of Kathryn Kalinak, ed., Music in the Western: Notes from the Frontier (Routledge, 2012); Choice: Current Reviews for Academic Libraries, June 2012 (49-5578).


Review of Peter Franklin, Seeing Through Music: Gender and Modernism in Classic Hollywood Film Scores (Oxford University Press, 2011); Choice: Current Reviews for Academic Libraries, January 2012 (49-2576).


Review of Robert Miklitsch, Siren City: Sound and Source Music in Classic American Noir (New Brunswick, New Jersey: Rutgers University Press, 2011); Choice: Current Reviews for Academic Libraries, September 2011 (49-0169).




“Monsters, Morality, and Music in Dexter.”  Paper read at the annual conference of the Forum on Music and Christian Scholarship, Wheaton College, Wheaton, Illinois (March 2011). 


“Blended Worship.”  An invited “interest session” presentation given at the annual meeting of the Michigan Chapter of the American Choral Directors Association, Central Michigan University. Mount Pleasant, Michigan (October 2009). 


“From Dante to Ralph Vaughan Williams: Love, Music, and Spiritual Transcendence in Willow-Wood.”  Paper read at the biennial conference of the North American British Music Studies Association, York University, Toronto, Canada (July 2008).


“Musical Quotation and the ‘Moral Geography’ in Leave it to Beaver.”  Paper read at the Great Lakes / Great Plains Super Regional Conference of the College Music Society, Illinois State University, Normal, Illinois (March 2008).