- The University of Aberdeen Room 122, Department of Music, University of Aberdeen, MacRobert Building, 581 King Street, Aberdeen, AB24 5UA
Jeremy is a musicologist and pianist currently based in Aberdeen. He read Music at Clare College Cambridge (BA Hons, MPhil in Musicology with Distinction) and received a PhD from King’s College London for research on Wagner supervised by Professor John Deathridge and Dr Michael Fend. Since 2016 he has lectured on a temporary basis in the Music Department at the University of Aberdeen and in 2019 he took up the position of Teaching Fellow (open-ended contract). He has also worked as a module tutor in the Comparative Literature Department at King’s College London (for a module on Listening, Sound and Modern Literature from Milton to de Quincey) and held the 2017-18 Visiting Fellowship at the Ernst Bloch Centre for German Thought in the Institute of Modern Languages Research, University of London. His research has been supported by the Arts and Humanities Research Council, the Royal Musical Association and Music & Letters, and he has presented on various topics to international conferences and seminars in UK, USA, Germany, Belgium, Italy and Poland.
Jeremy holds an LRSM in Piano Music Performance and continues to be active as a freelance collaborative pianist. He has played for various University societies including University of Aberdeen Operatic Society and University of Aberdeen Choral Society, and regularly accompanies BMus auditions, University music competitions, BMus student recitals and student concerts. Outside of the University, he is the rehearsal pianist for the Aberdeen Bach Choir and Haddo House Choral and Operatic Society, and accompanies for the annual auditions of the Grampian Youth Orchestra.
Jeremy's research interests centre on social and material approaches to nineteenth-century music history, especially Richard Wagner. He also specialises in music historiography, music and Marxist thought, and further interactions between music and philosophy, as well as the history of musical aesthetics. His doctoral thesis represented the first critical study of Wagner’s relationship with Paris from 1830s to the 'Paris' Tannhäuser in 1861, using translation in multiple senses as a lens to focus Wagner's activities while reflecting on broader ideas of politics, identity and modernity. This study is forthcoming as a book with Boydell & Brewer.
Royal Musical Association Thurston Dart research grants (2017, 2018)
University of Aberdeen
Student nomination for Excellence in Teaching Award 2016-17.
MU1035 BMus: Key Moments 1, selected lectures, 2017-18, 2018-19.
MU2023 BMus: Introduction to Musicology, seminars, 2016-17; course-coordinator, lectures and seminars, 2017-18, 2018-19.
MU2523 BMus: Analysing Music, lectures and seminars, 2015-17.
MU3051 BMus: Early Musical Modernism: Music from 1890 to 1945; lectures and seminars, 2018-19.
MU5003 MMus: Music Research Skills; selected lectures and seminars, 2018-19.
MU5004 MMus: Music Research Seminar Series (discussion group), 2016-18.
Musicology Forum: Departmental reading group, 2016-18.
University of Cambridge
Supervisor in Music for various colleges, 2011-2015, subjects including Music History 1750-1914 and Wagner’s Ring des Nibelungen.
King’s College London
Module convener, 'Listening Across the Channel', Department of Comparative Literature, Second Semester 2017-18 https://www.kcl.ac.uk/artshums/depts/complit/modules/level6/6aba0008.aspx
Graduate Teaching Assistant, Music Department, 2012-2014, including Issues and Topics in Music 1600-1750, The Symphony from Berlioz to Mahler, and Aural Skills.
- Further Info
Core Committee Member and Secretary, Royal Musical Association Music and Philosophy Study Group http://musicandphilosophy.ac.uk
Musicological assistant and copy-editor for English translation of Carl Stumpf, Tonpsychologie (1883, 1890), 2 vols., translator Robin Rollinger, funded by the Irène Deliège Translation Fund under the aegis of the European Society for the Cognitive Sciences of Music (ESCOM). To be published by Ashgate starting in 2016.
As Visiting Fellow 2017-18 at the Ernst Bloch Centre for German Thought (Institute of Modern Languages Research, School of Advanced Study, University of London), I convened a series of six seminars on 'Music and Marxism', inspired loosely by Bloch's philosophy of music. The seminars aim to explore critical encounters between music history and historical materialism, focusing on Western art music history of the nineteenth and twentieth centuries in its entanglement with industrial capitalism, bourgeois liberalism and modernity. http://modernlanguages.sas.ac.uk/ernst-bloch-centre-german-thought/six-seminars-music-and-marxism-2017-2018