Stacey Jocoy is Associate Professor of Musicology at Texas Tech University. She earned her Bachelor of Arts from Oberlin College (with emphasis in both Music History and English Literature), and her Master’s in Music and Ph.D. in Musicology from the University of Illinois, Urbana-Champaign. She is a recipient of fellowships from the Huntington Library and the Renaissance Symposium of the Newberry Library, 2001 Fellow in the Illinois Program for Research in the Humanities, and the 2003 recipient of the William Nugent Musicology Fellowship from Illinois. Prior to teaching at Texas Tech, she taught at Illinois Wesleyan University and the University of Illinois.
Her research focuses on intersections between politics, popular devotional forms, staged music, and vernacular song of the fifteenth through eighteenth centuries. Her doctoral dissertation on the politics of vocal music in the English Civil war has led to further work in the area including assisting with the 2006 exhibit at the Folger Shakespeare Museum, Washington, D.C.: "Noyses, Sounds, and Sweet Aires" (directed by Jessie Ann Owens) and an article in the companion volume. She is currently finishing a critical edition of one of the most influential texts in early modern music pedagogy: John Playford’s Introduction to the Skill of Musick (Ashgate Press Series: Music Theory in Britain, 1500-1700). Other publications include "Henry Lawes and the Mirthful Music of Robert Herrick’s Hesperides," in the forthcoming companion to the Complete Works of Robert Herrick (edited by Thomas Cain, Oxford University Press) and "Criminal or Cavalier: Macheath’s Dilemma in The Beggar’s Opera," in Visions and Realities: Perspectives of the Eighteenth Century in the Arts, Literature, and Politics (edited by Gloria Eive, Cambridge Scholars Press). Other recent and forthcoming publications appear in the Journal of Seventeenth-Century Music, ECCB: Eighteenth-Century Current Bibliography, Eighteenth Century Theory and Interpretation, Literature Compass, and Musik in Geschichte und Gegenwart.
She has presented papers at the national meetings of the Society for Seventeenth-Century Music, the North American British Music Studies Association, the Popular Culture Association, the Eighteenth-Century Society, the Sixteenth-Century Society, and the Group for Early Modern Cultural Studies, and has presented papers internationally at the International Conference on New Directions in the Humanities (Cambridge), "Lords of Wine and Oil:" Community and Conviviality in the work of Robert Herrick and his contemporaries (Devon), Music, Literature, Illustration (Southampton), and the Sixteenth-Century Society Conference (Montreal).
As a vocal performer, she has participated in several choirs and collegiums including the Oberlin Collegium (directed by Steven Plank) and the Early Music Ensemble at Texas Tech (directed by colleague Angela Mariani-Smith) and other performing groups including the Contemporary Chamber Singers (UIUC, directed by William Brooks) and the Balkan Ensemble (UIUC, directed by Donna Buchanan). In 2009-10 she assisted with the Texas Tech World Music Ensemble: Tzumba! (directed by colleague Thomas Cimarusti) and in 2010-11 is co-director; Tzumba! is an ensemble member of the Vernacular Music Center at the Texas Tech University School of Music (directed by Christopher J. Smith). She has studied both historical and international dance styles and was most recently a member of the High Plains Irish Dancers (directed by Kathleen Finley), with regional appearances, including the annual Caprock Celtic Christmas at Texas Tech (directed by Christopher J. Smith). Additionally, she has been a member of the publications committee and conference committee for the North American British Music Studies Association, and is secretary for the local non-profit organization Caprock Early Music. She regularly teaches courses on music from the early modern period (15th-18th centuries) and research methods, and has designed courses on subjects including Music Iconography, Music in Britain, and Opera History.