DMA, Composition 2014
University of Miami; Coral Gables, FL
Doctoral Essay: “An American Evensong: The Application of an Anglican Worship Service to a Large-Scale Choral Concertpiece”
MM, Composition 2010
BM, Theory and Composition 2008
University of Tennessee; Knoxville, TN
Master Thesis: “Seasons for a Cynic: A Compositional Process Utilizable for a Program Symphony”
Bachelor Project: Composed a full orchestra concert program for 43 student volunteers (soloists, performers, and conductors)

Primary Instructors

Dr. Dorothy Hindman
Dr. Dennis Kam
Dr. John Stewart
Dr. Kenneth Jacobs
Theory Pedagogy:
Dr. Paul Wilson
Dr. Barbara Murphy
Musicology Pedagogy: 
Prof. Frank Cooper
Dr. Angela Batey
Maes. James Fellenbaum
Dr. Don Ryder
Prof. Andrew Skoog



Kennesaw State University; Kennesaw, GA
Assistant Professor 2022–pr.
University of Miami; Coral Gables, FL
Experiential Music Curriculum Leader 2017–22
Frost Preparatory Academy Instructor 2014–22
Adjunct Lecturer 2013–22
Graduate Teaching Assistant 2010–13
University of Tennessee; Knoxville, TN
Graduate Teaching Assistant 2008–10

Courses Taught

Aural Skills I-IV (Experiential Music Curriculum)
Aural Skills I-IV (Traditional)
Music Theory I-IV (Experiential Music Curriculum)
Music Theory I-IV (Traditional)
Fundamentals (majors and non-majors)
Class Composition
Music Technology
Scoring for Media
Instrumentation and Arranging
Choral Arranging
Analysis and Experience
Advanced Counterpoint
(graduate level)



St. Bede Episcopal Chapel; Coral Gables, FL
Music Director and Organist 2011–22
Miami Music Project Youth Orchestra; Miami, FL
AYO Dean of Musicians 2014


Audition adjudication
Member and guest artist correspondence
Venue scheduling and programming
Ensemble and choir directing
Library assistance and upkeep


Piano, Organ, and Harpsichord

Soloist/Accompanist 2004–pr.
St. Bede Episcopal Chapel (Coral Gables, FL) 2011–22
University of Miami Collegium Musicum 2014–19
Miami Bach Society 2014–19
St. John’s Lutheran Church (Knoxville, TN) 2009–10

Flute and Baroque Recorders

Miami Bach Society 2011
University of Miami Frost Chorale 2011
University of Tennessee ensembles 2009–12

Euphonium and Bass Trombone

University of Tennessee ensembles 2004–08

Vocalist (classical)

Soloist 2008–pr.
Anglican Chorale of Southeast Florida 2011–19
University of Miami Collegium Musicum 2013–19
Miami Bach Society 2013–19
Trinity Episcopal Cathedral (Miami, FL) 2013–19
University of Miami Frost Chorale 2010–13
Ocean Reef Chapel Choir (Key Largo, FL) 2010–12
University of Tennessee ensembles 2004–10

Vocalist (contemporary)

BisCaydence a cappella group (Coral Gables, FL) 2011
VOLume a cappella group (Knoxville, TN) 2009–10
Tennessee Valley Players (Knoxville, TN) 2009–10


As an educator, I consider my primary role to encourage my students in their progress towards mastery of music theory and/or composition. In the field of music theory, this constitutes the ability to analyze the mechanics of any piece of music and communicate said analysis to others, noting what makes the piece unusual, unique, or effective. In composition, mastery would be the ability to compose in a variety of styles, while defining one’s own consistent “voice” as a composer, effectively expressing and developing their own ideas over well-timed artistic statements.

However, I am called to do more than present these skills and materials to our students for their competency or mastery. I must also nurture an environment that encourages critical thinking and application of the material across genres, so that the student can see why these skills are worth knowing as versatile musicians. Regarding application specifically, I take particular inspiration from David Elliott’s praxial philosophy, putting every lesson into an exercisable context. My students are encouraged to apply their classroom exercises creatively to their everyday practice routine (e.g. improvising their daily warm-ups, analyzing the repertoire they’re practicing, etc.). The University of Miami’s Experiential Music Curriculum incorporates both composition and improvisation into their theory and aural skills classes, and my observations of and participation in the curriculum have inspired me to write my own methods book for instrumentalists and vocalists encouraging this practical application of music theory. It is partly because of this inspiration that I began a leadership role in the fall of 2017, helping to choose course materials and supervise other instructors in the program.

To foster critical thinking, I encourage an open dialogue with my students during my large lectures. For my spring 2017 Advanced Counterpoint class (MTC518/618 for undergraduate and graduate students), I facilitated this by making 60% of the final grade hinge on class participation. As a result, the fifteen students showed a stronger interest in the material, asked more challenging questions, and posited more educated ideas than I had seen in years past from other classes. More so, the students outwardly expressed their enjoyment of the material, describing fugue analysis as not only enlightening but also a genuinely fun activity. Though the majority of the students had little to no experience composing, every student expressed excitement to tackle their midterm and final composition projects so that they could put their newly developed skills to practice.

That sense of “fun” should not go under-acknowledged in any music theory class. If I am not enthusiastic about the material I am presenting, I cannot expect my students to be engaged, and without that emotional investment they will be less successful in their approach to my classes. This can be demonstrated in something as simple as illustrating the relative major group in minor keys: “The VI chord is one of my favorite chords, and here’s why!” In one of my previous instructor evaluations, a student remarked that “watching Dr. Pegel ‘nerd out’ over the material made me want to participate in his class every day, even though it was music theory at 8am Monday mornings.” That sort of feedback has influenced me as an educator more so than any other.

Throughout my nine years of experience teaching at the collegiate level, I have learned many valuable lessons, the most important of which is discerning the difference between effective teaching and “talking in front of the class about what you know.” As I further grow, I intend to always take my students’ feedback seriously, be open to experimenting with my curriculum layouts, and persistently research new and effective ways of teaching. This will allow me to continually express interest in both my students’ progress and in them as human beings. It is my hope that as a result, we will have a new generation of inspired young adults ready to invigorate the world of music theory and composition.


Florida Music Educators Association (FMEA) 2017-pr.
National Association for Music Educators (NAfME) 2017-pr.
College Music Society (CMS) 2008-pr.
American Society for Composers, Authors, and Publishers (ASCAP) 2013-pr.
Alliance Music Publications, Inc. 2013-pr.