on faculty since 2004
Ph.D., University of Pittsburgh, Pittsburgh, Pennsylvania, 2003
M.A., University of Pittsburgh, Pittsburgh, Pennsylvania, 1999
B.S., Philadelphia Biblical University, Langhorne, Pennsylvania, 1997
B.Mus., Philadelphia Biblical University, Langhorne, Pennsylvania, 1997
Ask Mark Peters what his favorite piece of music is, and you will be answered with a laugh.
“This has become something of a joke in my classes,” Peters explains. “I’m always saying, ‘This is one of my favorite pieces,’ whether we are listening to Renaissance motets or Charles Ives, Bach, or jazz. One thing I like about being at Trinity is that I have the opportunity to teach many different kinds of music.”
Peters teaches an introductory course in music literature, as well as a three-semester sequence of music history courses ranging from the Medieval period to the present. In these courses, students explore not only the Western art music tradition but also American music and its West African and European influences. Peters also offers an introductory course on world music and has taught special courses such as “To Be or Not To Bop: Jazz in the 1950s” and “What Kind of Story Is History?”
Peters’ interest in a broad scope of music is also reflected in his scholarship. He earned his Ph.D. in historical musicology at the University of Pittsburgh with a dissertation on Mariane von Ziegler’s sacred cantata texts and their settings by J. S. Bach. He has presented conference papers on Bach, Ziegler, and Johannes Brahms, and his publications include articles in BACH: Journal of the Riemenschneider Bach Institute and the monograph “Claude Debussy As I Knew Him” and Other Writings of Arthur Hartmann (University of Rochester Press, 2003), with Samuel Hsu and Sidney Grolnic. His monograph A Woman’s Voice in Baroque Music: Mariane von Ziegler and J. S. Bach was published by Ashgate in 2008, and his current research explores settings of the Magnificat by J. S. Bach and his contemporaries.
In addition to his work as a professor and musicologist, Peters continues to perform as a trumpeter. He has directed and performed with the Trinity Brass Quintet, and plays trumpet for church services and special events. Since 2009, he has played cornet each summer for the Great Western Rocky Mountain Brass Band Festival in Silverton, Colorado.
Peters lives in Blue Island, Illinois, with his wife, Candace. Their seven children like listening to Bach, the Kronos Quartet, U2, and be-bop (and Veggie Tales).
“J. S. Bach’s Meine Seel erhebt den Herren (BWV 10) as Chorale Cantata and Magnificat Paraphrase.” Bach: Journal of the Riemenschneider Bach Institute 43 (2012).
Chapter 10, “Vocal Music.” In The Ashgate Research Companion to J. S. Bach. Edited by Robin A. Leaver. Aldershot, Hampshire: Ashgate, 2012.
“Women, Gender, and Space in Baroque Music,” presented with Tanya Kevorkian (Millersville University) and Markus Rathey (Yale University). Attending to Early Modern Women: Remapping Routes and Spaces, Milwaukee, WI, 21-23 June 2012.
“Theological and Liturgical Contexts for the Magnificat in Bach’s Leipzig.” Bach Colloquium 2011, Cambridge, MA, 30 April-1 May 2011
“A Woman’s Poetry in Leipzig’s Churches: Mariane von Ziegler as Cantata Librettist.” Symposium: Poets, Mothers, and Performers: The Women around Johann Sebastian Bach. Yale Institute of Sacred Music, New Haven, CT, 16-18 October 2009.
“Considerations of Genre in J. S. Bach’s BWV 10, Meine Seel erhebt den Herren.” Biennial meeting of the American Bach Society, Bethlehem, PA, 8-10 May 2008
A Woman’s Voice in Baroque Music: Mariane von Ziegler and J. S. Bach. Aldershot, Hampshire: Ashgate, 2008.
“Nun komm, der Heiden Heiland (BWV 62) within the Context of J. S. Bach’s Second Leipzig Jahrgang.” Montréal Bach Festival, 8 December 2007.