Biography

Stephen Neely, PhD, Dalcroze License, is the Carnegie Mellon University Milton and Cynthia Friedman Associate Professor of Music, Director of the Carnegie Mellon Marta Sanchez Dalcroze Training Center, Director of Graduate Studies at Carnegie Mellon School of Music, co-chair of the International Conference of Dalcroze Studies, co-founder and co-host of the Virtual Dalcroze Meet-up, and past President of the Dalcroze Society of America. 


Stephen is a teacher, conductor, theorist, and clinician who lectures and presents workshops in the fields of design, music, architecture, and pedagogy. He is a dynamic speaker–teacher–writer who enjoys traveling to present hands-on workshops and clinics in the US and around the globe focusing on the overlaps between music, design, the body, esthetics, performance, and experience. He teaches all of the Dalcroze Eurhythmics and Dalcroze Pedagogy courses for the Carnegie Mellon School of Music, having taught every BFA Music Performance and Composition major at CMU since 1999. He is Dalcroze Eurhythmics faculty for the Houston Grand Opera Butler Studio Artists. He taught Dalcroze Eurhythmics and directed the Opera Workshop at Pittsburgh's High School for the Creative and Performing Arts for 23 years (1994–2018) and served as Chorusmaster for Opera Theater of Pittsburgh from 1999–2010, was featured as the Hangman in Leonardo Balada’s early operas Hangman, Hangman and the world premiere of The Town of Greed for the Naxos label, and was a featured speaker at TEDxCMU 2012


Dr. Neely coined the term Soma Literacy in Soma Literate Design–recentering the interstiality of experience at the Carnegie Mellon School of Design in 2019 and he enjoys traveling to present hands-on workshops and clinics in the US and around the globe focusing on the overlaps between music, the body, esthetics, performance, experience, and design.

 "My research focuses on the physical nature of experience and the reflections of the musical gesture in everyday interactions—that is, the ways in which our feeling bodies are necessary components of musical participation and how that understanding presents artful potential in any experience.”