Assistant Professor Dr. Jeremy Leong

Assistant Professor Dr. Jeremy Leong

Head of Programme, Postgraduate Studies

Academic Qualifications

PhD Historical Musicology
MMus Musicology
BMus Music Theory, Minor in Flute
Graduate Certificate in Southeast Asian Studies

 

Biography

Jeremy Leong received a Ph.D. in Historical Musicology and a Graduate Certificate in Southeast Asian Studies with emphases on ethnomusicology, history, and cultural studies. He completed advanced training in non-Western music and performed Javanese gamelan and dance with the University of Wisconsin-Madison Javanese Gamelan Ensemble. With an academic background in music theory (B.M. in music theory [magna cum laude] plus the completion of several doctoral courses), he has published several prefaces for study scores on Western instrumental music that underscored the historical and theoretical perspectives of the works for performance.

In terms of research, he has presented at major international conferences in North America, China, and Europe, and they included the International Musicological Society (IMS 2012), the World Conference of the International Council for Traditional Music (ICTM 2011, an organization in formal consultative relationship with UNESCO), the American Musicological Society (AMS Annual Meeting 2010), and the Society for Ethnomusicology (SEM Annual Meeting 2010), just to name a few. Furthermore, he was deeply honored to have been conferred an “”Honorable Mention,” the only graduate student prize awarded at the First Conference of the ICTM Study Group for Musics of East Asia held at the Shanghai Conservatory of Music in 2007. In 2009, he was the guest speaker at the UW-Madison’s Center for East Asian Studies Brown Bag Lecture Series and he was also the chair of the graduate panel “Sight and Sound Heuristics: The Music, Film, and Language Experience” held at the Southeast Asian Studies Summer Institute (SEASSI) Student Conference.  

He was the recipient of several academic awards which included the prestigious University of Western Ontario President’s Graduate Fellowship, the University of North Texas’ Dickie-Gilbreth Memorial Scholarship, and the University of North Texas’ General Academic Scholarship, among others. In addition, he has also received research grants from Harvard University, the University of Chicago, and the University of Wisconsin-Madison.

With over a decade of teaching experience at the tertiary level, he was music lecturer at the University at Buffalo (in partnership with SIM Global Education, Singapore), senior teaching fellow at the University of Wisconsin-Madison, and graduate teaching assistant at the University of Western Ontario. He has taught Western music history that spanned all time periods, non-Western music, and music theory. In terms of professional training in higher education pedagogy, he has received Certificate in Peer Instructional Coaching for Teaching Excellence (2017), Advanced Certificate in Teaching & Learning in Higher Education (2017), Certificate in Educational Psychology (2017, part of the Postgraduate Diploma in Higher Education awarded by the National Institute of Education, Nanyang Technological University in Singapore), and Certificate in Problem-Based Learning (2014), among others. In 2016, Dr. Leong received the 5-Year Lecturer Service Award presented by SIM Global Education for his dedication and contributions to the University at Buffalo’s (SUNY) programs.

Currently, as Assistant Professor of Musicology at the Institute of Music, he teaches undergraduate and postgraduate music history and research, and is also involved in curriculum development. He also serves as music research coordinator and is excited to be apart of the institute’s dynamic team.

 
 

Areas of interest

  • Austro-German music
  • German Philosophical and Musical Influences in Republican China
  • Austro-German Jews and Music in China
  • Music and Orientalism
  • Musical Diaspora
  • Music Censorship in Southeast Asia
  • Ethnomusicology

Publications

(a) Monograph

  1. Leong, Jeremy. “Musical Irony and Identity Politics: Austro-German Jewish Refugees in Republican China.” In This is the Sound of Irony, ed. Katherine Turner, 59-72. Popular and Folk Music Series. Surrey, England: Ashgate Publishing Limited, 2015 (peer reviewed)

(b) Articles

  1. Leong, Jeremy. “Mozart’s Don Giovanni.” In A-R Online Music Anthology: Textbook, 1-10. Middleton, Wisconsin: A-R Editions, 2017 (peer reviewed)
  2. ____________. Review of Claiming Diaspora: Music, Transnationalism, and Cultural Politics in Asian/Chinese America (UK: Oxford University Press, 2010), by Su Zheng. Notes: The Quarterly Journal of the Music Library Association (March 2011): 522-525 (peer reviewed)
  3. ____________. Preface to Ouverture zu einer Opera Buffa, Op. 14, by Wilhelm Grosz. Munich, Germany: Musikproduktion Höflich, 2015.
  4. ____________. Preface to Contredanses für Orchester, by Luigi Cherubini. Munich, Germany: Musikproduktion Höflich, 2013.
  5. ____________. Preface to Quartett A-Moll für zwei Violinen, Viola und Violoncello, Op. 62, by Robert Fuchs.  Munich, Germany: Musikproduktion Höflich, 2012

 

Selected Conferences:

  1. Leong, Jeremy. (2012) “Reclaiming a Musico-Cultural Identity: Austro-German Jews in Republican China (1911-1949).” A paper presented at the 19th International Congress of the International Musicological Society held at the Auditorium Parco della Musica in Rome, Italy.
  2. ____________. (2011) “China’s guoyue: A Re-examination of Music Literature for the Chinese Public.” A paper presented at the 41th World Conference of the International Council for Traditional Music (ICTM) held at Memorial University, St. John’s, Newfoundland, Canada.
  3. ____________. (2011) “When East Meets West: Philosophy and Cultural Politics of Chinese Music Education.” A paper presented at Negotiating ‘the West’ Music(ologic)ally Conference held at Utrecht University, Utrecht, the Netherlands.
  4. ____________. (2010) “Aesthetic Education for Socio-Political Change: Cai Yuanpei in Republican China (1911-49).” A paper presented at the 55th Annual Meeting of the Society for Ethnomusicology held at Wilshire Grand Hotel, Los Angeles, California, hosted by the University of California at Los Angeles.
  5. ____________. (2009) “Refashioning Republican China’s ‘national music’: the fallacies in Wang Guangqi’s musical thoughts.” A paper presented at the Society for Ethnomusicology Niagara Chapter Meeting held at Cornell University, Ithaca, New York.
  6. ____________. (2008) “Erwin Felber: A Jewish Music Scholar in Republican Shanghai.” A paper presented at a symposium entitled Music & Culture: Chinese-Western Musical Exchange from the 16th to 20th Centuries held at the Ricci Institute of the University of San Francisco Center for the Pacific Rim, San Francisco, California.
  7. ____________. (2002) “Puccini’s Madama Butterfly and the Concept of Orientalism.” A paper presented at the University of Wales Conference Center at Gregynog, Powys, Wales. The conference theme was “Romantic Orientalism”