- 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. In 2016 he began lecturing on a temporary basis in the Music Department at the University of Aberdeen and in 2019 became a Teaching Fellow on a permanent 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.
Jeremy's research centres on social and material approaches to nineteenth-century music history, especially Richard Wagner, and ideas of critique and modernity. He also specialises in music historiography, interactions between music and philosophy, and 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. This study was published as a book by Boydell & Brewer in 2019, titled Richard Wagner in Paris: Translation, Identity, Modernity. Adorno's Essay on Wagner and Walter Benjamin's unfinished project on nineteenth-century Paris (the so-called "Passagenwerk") provided a twin point of departure for Richard Wagner in Paris, and Jeremy is interested in exploring the further possibilities of Benjamin's method of cultural analysis for an understanding of musical production.
Musicological assistant and copy-editor: Carl Stumpf, Tone Psychology, Volume 1: The Sensation of Successive Single Tones, translated by Robin D. Rollinger (Routledge, 2019).
Musicological contributor to the international research project: Karol Berger - Musicologist and Art Philosopher: Testimonies, Reception, Interpretations, Developments. Led by Dr Anna Chęćka Gotkowicz (Lecturer in the Department of Aesthetics and Philosophy of Science, University of Gdańsk). Pending funds from the Narodowy Program Rozwoju Humanistyki (Poland’s National Programme for the Development of Humanities [NPDH]).
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
Erasmus Teaching Mobility at Slavisches Institut, Universität zu Köln (2019)
Music & Letters grant towards the production costs of monograph Richard Wagner in Paris (2019)
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.
MU1035 and MU1535 BMus: Key Moments 1 & 2, tutorials, 2019-20.
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.
MU3082 BMus: Composer Option: Approaches to Richard Wagner [original course], 2019-20.
MU3522 BMus: Aesthetics of Music, lectures and seminars, 2018-19; seminars, 2019-20.
MU5003 MMus: Music Research Skills; selected lectures and seminars, 2018-19.
MU5004 MMus: Music Research Seminar Series (discussion group), 2016-20.
Musicology Forum: Departmental reading group, 2016-18.
I have supervised fourth-year undergraduate dissertations on the following topics:
- the aesthetic programme of Les Six
- the social development of the piano
- contemporary classical-pop 'crossover'
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