Frederick Reece (he/him/his)

Frederick Reece's research centers on the music and culture of the long nineteenth century, with a particular focus on issues of authorship and authenticity. 

His first book project, Forgery in Musical Composition: Aesthetics, History, and the Canon (in press, OUP), examines compositional forgeries—pieces deliberately misattributed to such figures as Haydn, Mozart, and Schubert—from a wide range of music historical, analytical, and philosophical perspectives. The volume is both a narrative chronicle of forgery in classical music culture and a meditation on problems of value judgment, stylistic imitation, and (in)authenticity writ large.

Further areas of research interest include music and intellectual property law, artificial intelligence in music, the history of music theory, and issues in philosophical aesthetics. Reece's articles and reviews on these and other topics have appeared in such venues as the Journal of Musicology and the Journal of the American Musicological Society.

Before joining the faculty at the University of Washington in 2021, Reece was postdoctoral resident scholar and visiting assistant professor in music theory at Indiana University and lecturer in musicology and music theory at the University of Miami’s Frost School of Music. He was educated at the University of Oxford (B.A.) and at Harvard University (M.A., Ph.D.), and has been the recipient of numerous research awards, including the American Musicological Society's Paul A. Pisk Prize and Alvin H. Johnson AMS 50 Fellowship.